Graphite Pencil Drawing for the Advanced Beginner | Diane Flick | Skillshare

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Graphite Pencil Drawing for the Advanced Beginner

teacher avatar Diane Flick, Artist & Art Teacher

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

47 Lessons (2h 50m)
    • 1. Promo Video - Graphite Pencil for the Advanced Beginner

    • 2. Materials

    • 3. Introduction to Preparing the Drawing Surface

    • 4. Drawing the Frame

    • 5. Drawing the Grid

    • 6. Introduction to Drawing

    • 7. Drawing the Head, Muzzle & Body

    • 8. Drawing the Ear

    • 9. Drawing the Nose - Main Shape

    • 10. Drawing the Nose - Details

    • 11. Drawing the Eye - Measuring for Placement and Size

    • 12. Drawing the Eye - Adding Shapes

    • 13. Drawing the Mouth and Markings

    • 14. Lighten Lines and Erasing the Grid

    • 15. Value Layering Practice

    • 16. Lightest "H" Pencil - Top of the Ear

    • 17. Lightest "H" Pencil - Finish Ear & Start Face

    • 18. Lightest "H" Pencil - Forehead & Muzzle

    • 19. Lightest "H" Pencil - Mouth & Chest

    • 20. Lightest "H" Pencil - Nose & Side of Face

    • 21. Lightest "H" Pencil - The Eye & Finishing

    • 22. Darkest "H" Pencil - The Ear

    • 23. Darkest "H" Pencil - Side of the Face

    • 24. Darkest "H" Pencil - Center of the Face

    • 25. Darkest "H" Pencil - Muzzle & Chest

    • 26. Darkest "H" Pencil - Nose, Side of the Face, and Eye

    • 27. #2 (HB) Pencil - The Ear

    • 28. #2 (HB) Pencil - Side of the Face

    • 29. #2 (HB) Pencil - Muzzle and Chest

    • 30. #2 (HB) Pencil - Nose and Snout

    • 31. #2 (HB) Pencil - Finishing the Face

    • 32. #2 (HB) Pencil - The Eye

    • 33. Lightest "B" Pencil - The Ear

    • 34. Lightest "B" Pencil - Top of the Face

    • 35. Lightest "B" Pencil - Finishing Muzzle & The Eye

    • 36. Lightest "B" Pencil - Side of the Face

    • 37. Lightest "B" Pencil - Mouth & Chest

    • 38. Lightest "B" Pencil - The Nose

    • 39. Lightest "B" Pencil - Finishing Nose & Center of the Face

    • 40. Lightest "B" Pencil - Finishing Touches

    • 41. Darkest "B" Pencil

    • 42. Adding Final Darks

    • 43. Adding Final Lights

    • 44. Adding Whiskers

    • 45. Signature (optional)

    • 46. Spray Fixatif (optional)

    • 47. Congratulations!

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About This Class

In this course, you will learn how to accurately draw from a simple reference photo using a range of graphite pencils, and I hope you will have fun doing it. It's meant to be lighthearted, but also with focus on precision in order to furnish you with a new set of tools for your toolbox

You will be carefully supported and guided through the entire process, from discussing which materials you will need and how to select them, to set-up, then onto accurate measuring in order to replicate and realistically scale the image up.  From there we will walk through how to add value including shading and mark-making, in a way that allows for the entire image to be built up simultaneously, resulting in a cohesive, rich and beautifully finished drawing.  When we are finished, you will walk away with a new set of skills you can use to create more beautiful drawings.

My hope is that you find the process and outcome as enriching as I do, and that it both ignites and feeds a spark of creativity for you.  Enjoy and be merry!

Meet Your Teacher

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Diane Flick

Artist & Art Teacher


Diane Flick majored in art during college and went on to graduate school, receiving her M.A. in Humanities with a creative study emphasis in 2001. She has been making art her whole life and teaching art to children and adults since 2005. She loves to share this joy with folks who are interested in the same.

In her spare time, she enjoys being with her family and friends, playing her ukulele, dancing, and wearing wigs while talking about herself in the third person. Though truth be told, she hasn't actually tried that last bit about the third person self-talk yet. She conceived of it upon writing this and is now anxious to give it a go.

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1. Promo Video - Graphite Pencil for the Advanced Beginner: Hi there. Welcome to graphite pencil drawing for the advanced beginners. Thank you so much for joining me on this journey. My name is Diane. I've been teaching art for about 15 years and I've been drawing and painting my whole life and I love it. I hope to inspire you to love it as well. This class is meant for artists who have a little bit of experience with graphite pencil, but we'd like to broaden your skill set. Or just if you're specifically interested in learning how to replicate animal textures in graphite, the specific skills you'll gain today are layering for volume and texture. You're going to be doing the specific textures of short course for and the glossiness of the eye that Roberius of the nose and thin little wispy whiskers. You're also going to learn how to practice scaling, starting from a smaller photograph and enlarging the photograph very accurately onto your drawing using a grid. But grab that light pencil and your cup of tea, light your candles, whatever it is, you want to set your atmosphere in your little corner of the world and join me in mind. And let's get ready to draw sparky, where the earnings. 2. Materials: Okay, so now we are going to talk about what materials you're going to need for this course. First, you're gonna need a range of graphite pencils. I have my pencils here and I'm gonna talk to you a little bit about the different types of pencils. Pencils come in many different harnesses and darkness is. They are each labeled with a letter and number combination and alphanumeric combination. And you can see that on this little gold area on this pamphlets as 2H right there. They're all different companies just to illustrate different pencils, I don't have an allegiance to one company or another, but you can see this one says six h. This one says to B. And this one says nine b right there. So you can see they're all labeled clearly, but they have different aesthetics. This right here is an eraser that's in the shape of a pencil, One of my very favorite tools, and this is not required for the course, but it is really nice to have if you happen to have one or once you get one. So back to the pencils. The h stands for hard, the B stands for Black hard pencils or the lighter ones. Black ones are the softer darker ones. And I'm going to show you on this piece of scratch paper how they differ. So I'm going to start off with the HB pencil or the number two pencil, which is the one right in the middle, which is why it's the most common writing or drawing pencil there because it's just kind of an average darkness. This is HB. Now the further I go up the B scale or away from HB, the darker my pencils get. And then similarly, the further I go away from HB into the h's, the lighter the pencils get. So I have HB and then I might have h Here. I happen to have a 2H pencil, which is going to be lighter than my HB. And then I also have a six H pencil, which is going to be even lighter than my 2h. Even if I go over it a couple times. In between there you'll have four age. I think there might even be odd numbers. There might be a 3H and five age, I'm not sure, but there's a ton of them. So as long as you have one or two H pencils and one or two B pencils. That's really the best thing you can have for this class. And you can also have an HB. On the other side. If I use my 2B pencil, you'll see how much darker it is. Then the HB. And then I chose a 990 pencil, which would be way up here. And that's even darker. But you can kinda see that each pencils are fairly similar. The B pencils are fairly similar. So that's why you don't have to have a whole ton of them to create really believable, good layering and values in graphite. That being said, if you only have a number two pencil, you can still take this course. You're just going to be layering a lot with the same pencil and adjusting your pressure quite a bit. In order to have light layers on top of medium layers on top a dark layers. So those are the pencils are Acer pencil. You also need a good sharpener. Handheld electric doesn't matter. You're gonna need a ruler in order to draw your frame. And this is something is not absolutely necessary, but it's really helpful. It's just a piece of paper, white paper with a little hole cut in the middle of it. And I like to use these to show value. Value just means light or dark. So for example, if you're looking at the lightest part of this dog's face and you think, Oh, that's just white. But then you put the little window on it. You can see that it's actually a light gray. So that just helps your eye to learn and understand the different ranges that you're going to be applying here as you draw this dog. Then in terms of paper, you're gonna need some scratch paper to do things like this. You're going to need a nice piece of drawing paper, nine by 12 or larger. And then you're going to need the photo printed out for this course, will print one just on plain copy paper because we're going to draw a grid over this. And you want to be able to just kinda mess it up a little bit. But then also have your nice picture painted out, printed on photo paper, preferably if you can do that. And the reason for that is you can kind of see the richness of the values showing through here versus how dull they look on copy paper. So if you have photo paper and the ability to print a photo, that would be fantastic. 3. Introduction to Preparing the Drawing Surface: Okay, so now we are going to prepare your drawing surface. In order to do that, you're going to need a ruler in your pencil. You're going to draw an eight inch by 10-inch frame onto your drawing paper. And then you're going to divide each side of the paper into four equal sections. I will show you how to do that using both a ruler as one method and actually using your pencil as a measuring tool as the other method. Those four sections will form your grid, which will help you to size the drawing up from the photograph onto your final picture. And before we get started completely, I'd like you to just take a look at the dog photo and spend a moment with it. And think about what sparky is feelings that will inform your final image. It'll also inform your process. Do you feel like he's happy? See excited as he hungry, as he surprised. What is sparky feeling? Whatever it is that you perceive is part of the art and it will come through in your image. So think about that for a minute and then let's get started. 4. Drawing the Frame: So now we're going to draw the frame and the grid onto our drawing paper and our copy paper printout of the dog. So you can have a rule that you need a ruler for this, we're going to draw an eight by ten frame. So your paper needs to be nine by 12 or larger in order to fit that. First thing I'm going to do actually is just make a remark about half inch in from a not about pretty exactly half inch in from the top of my paper or the bottom, whatever. And just make a straight line connecting those two. And that way I know that my frame will be parallel to my piece of paper. So from that Mark, I'm going to measure down ten inches. Make a market tend do the same thing on the other side. And connect those two. Doesn't matter if your line overhangs the frame eventually. And then I'm going to do eight inches across here and trying to mostly centered, but it doesn't really matter because the area on the outside is just gonna be scratch anyway. So that will be eight inches. And then I'm gonna take this measurement using my pencils, a measuring tool. You'll remember this from the tree course. If you took the graphite course on how to draw a tree, measuring with your pencil. So I'm aligning the tip of my pencil up with the outside of my paper, lining my thumbnail up with my my little mark right there. And then moving it up to the top of the paper and making a mark. You can do the same thing on the other side. In fact, that'll be easier to see because my hand will be right in your way. So I'm measuring this space using my thumbnail to mark the edge of the paper and my pencil tip to mark that little pencil mark. And then I'm gonna move it up and make a mark there. And that way I know my sides are going to be parallel as well. And then I'm going to connect those two. Now I have an eight by ten frame there. Besides that, I'm going to draw a grid on my paper. And in order to do this, I'm going to just divide each side into four equal sections. So for this, you can use a ruler if you want, or I'll show you a different way to do it. So because this isn't even eight inch side, I know that four is going to be 2.56, are going to be a quarter. So that's fairly easy. The other way to do it though, is to use your pencil is a tool. And Mark set where you think Center is with your fingernail on your non-dominant hand and then hold the pencil with your dominant hand. Line the tip up with your fingernail. Mark the edge e or paper with your thumbnail and guess and I'm wrong, see, I'm off a little bit on that side, so I'm gonna move it over and try again. And you may be wondering, why would I choose to do it this way when I have a ruler? And the reason is your frame is not always going to be a nice even number like eight inches or ten inches where it's very easy to divide into quarters. What if it's like 57 eighths or something? In which case it's actually much easier to do it this way then to try to use a ruler and get inbetween 16th of an inch marks. And I can even check it against this and just see, oh, they all match up so nicely look at that. But for the sake of expediency, and because I do have a nice even number here, I'm going to use the ruler for the rest of these. So this is ten inches, which means 5.5572 are going to mark my quarters. Same thing on the other side. My paper migrated 7.552. 5. Drawing the Grid: And now that I've got my marks made, I'm gonna draw grid. This is very important for you when you're drawing your grid. Use a light pencil and draw it very, very, very lightly. I'm going to draw mind slightly darker because I want you to be able to see it. And if I draw it super light, you won't be able to see it very well on the film. But I don't want you to have dark grid lines because if you do, they'll be hard to erase and then we'll see grid lines in your final drawing. And we definitely don't want that. If that were to happen to you. However, don't panic there is a fix. If you get to the finished drawing and you're ready to put in for and you just can't erase those grid lines, they won't go away. You can trace your finished drawing onto another piece of paper without the grid lines. And it's a very quick and easy way to get rid of them. But we'll talk about that more later. Okay, we're done with the grid lines on our drawing paper so you can set that aside. Now we're gonna do the same thing on the photo that's printed onto the copy paper. Don't do this if you've printed it onto photo paper. So these sides are five by seven. So half of five will be 2.5, and then the quarters will be one and a quarter. On the other side. I'll do the six and a quarter side. So this is actually a good example of one. It would be easier to not use the ruler because dividing six and a quarter into quarters gets a little tedious. So I'm gonna do the other measuring method. We got half there and then a quarter. And by the way, the reason this picture is five by six and a quarter and not five by seven, which is a standard size, is because I made it so that it would be proportional to eight by ten, which is the size of your drawing frame. If it's not proportional, then your dog will end up looking a little stretched out one way or the other, either kind of tall and skinny or short and wide. And that's definitely not the end of the world either. But I wanted to show you how to proportionally size up an image using only manual tools. This is a technique that muralists often use. They will use what's called a chalk line, which is a piece of string covered in chalk dust. And they'll snap it and then leaves a chalk mark on the building and a street perfect line. And what they're doing is creating a giant grid so that if they're copying an image on a handheld piece of paper, they can size it up to the size of a building. By copying each square. It's a way of breaking down the visual information so that your brain can understand it and translate it to a larger surface. You can also go backwards and do a smaller surface, though people rarely do that. So now we have our grids and we are ready to start drawing or Doug. 6. Introduction to Drawing: So now that you've got your grid drawn and your frame and your paper is ready to go. We're ready to start drawing the dogs. So I just wanted to fill you in on the rationale behind what we're about to do. I'm going to walk you through it step-by-step. But you do want to approach this in a general sense to a detailed sense. So you're going to start with a general large shapes and work your way to smaller details. There's a few reasons for that. One is you want to build your drawing kind of as a whole so it feels cohesive rather than agonizing over one tiny little part and then another tiny little part. It tends to look a little bit disjointed in the end if you do that. The other reason is with anatomy in any animal, you really want things like the eye in the nose and the ear to be placed really well and the correct size and shape in order to be believable as a three-dimensional image. So in order to get the things all those little pieces in the right place, it's best to do the large shapes first because those are the easiest to identify. And then we use those large shapes to measure where the smaller shapes go and create more and more detail as we go on. You can think of it kind of like writing. If you're ever writing, especially creative writing, you would never want to edit the punctuation or the grammar as you go sentence by sentence because you'll interrupt the spirit of your piece. You just wanna kinda get it out all on paper and then go back later and edit and do another edit and another edit and that kinda thing, same thing and drawing. So grab your light pencil. Remember one of your h pencils to h, I have two agents, 68, you may have some different h's. Or if you just have a number two pencil and make sure you're drawing very lightly with it. And remember, I will be drawing dark, but that is just so you can see my lines really well. And let's draw some dogs. 7. Drawing the Head, Muzzle & Body: So now as we talked about when we were drawing our grids, were going to use the grids to size this photo up. We're gonna blow it up to an eight by ten size. And the grid is going to help us to do that proportionally. So we're just getting a version of this dog that's larger than what we started with. So it looks like the top of his head is very faint here, but it looks like it kind of goes off the page right about here, pretty close to the very corner. And then at a very, very slight angle, it's going to slope down to the left. So I'm gonna make a mark wherever it touches a grid line and wherever the line shifts. So right here it's going to shift, it's going to go to a corner and then shift down. So I'm gonna make a mark right there. And it looks like it's about equal distant from the top of the frame to the side of the frame. Just a little ways in about right there. From there it's gonna come down and now it hits another grid line. So to make a mark right about there and go off to this next box, pretty close to this corner right about there. And then this bump right here is sort of vague. It blends into the darkness of the ears. So I'm just gonna make a little line so I know not to go beyond about a third of the way into that box. And then it's going to return back to the raid and end up very close to this corner and go into the next box a little bit and not spend much time there before it turns and comes into this next box. Now it comes to a point here which is sort of hanging out near the center of this box. So because that's nowhere near a grid line really, I'm just gonna measure using my pencil measuring technique. How far in IT goes. It's a little bit closer to the left and the right, but it's really pretty close to just halfway across. So I'm gonna make a mark there. That's a guess. Oops, it made two marks linearise one of them. It's not that we have to be exactly that precise, but I mean as well. And then as far as how far up it goes, I can measure and they do it this way and see how many of this space fit into the box. So there's 12, a little less than a third. So let me see if that was accurate. Probably not. No, that's more than a third, so I'm going to move it down a little bit about right there. And I'll raise this one. So I just measured how far across it went and how far up and where those two meet is where that dot is. Materials out of the way actually because I'm right now. So from there we're going to come down and go off this grid line a little further to the right than the left and come down to about here. And then we'll just go off at about the same height on the side of we'll, we'll do the nuances of the mouth later. But for right now you can see what I've achieved here is almost a connect the dots sort of things. I really have a good idea of where the dog's head is, how big it is, where the line shifts. And I'm just going to really connect my dots. It's kind of that simple. Once you have taken the time to do the measuring, you've laid the groundwork for a very accurate shape. And then the drawing part is kind of quick. If you've done that. Well. And I feel like that's too straight, which means this is probably a little high. So I'm going to lower that and absolutely feel free as you go if you noticed the same thing like, oh wow, I didn't leave myself enough room for this thing or that doesn't look right, just change it. That's why we have erasers. And then go back and erase any changes you made, any mistakes. Put it all back. And I would like to emphasize again, I know I talked about this when we were drawing our grid, but make sure you're using a light pencil to draw. If you happen to have just used the dark pencil, then just go back and very lightly erased so that your lines become very light, but that you can still see them. The reason I'm using a dark pencil, as I mentioned before, is because I want you to be able to see my lines really well. But for the sake of your drawing, we don't want any dark lines showing through at the end. So go ahead and draw lightly with one of the h pencils. I'm gonna go ahead and put my line back in so that you can see it. Well again, but you can leave your light. And now we're done with the head and the muzzle. 8. Drawing the Ear: So now we're going to do the ear and the body, since those are kinda the next larger, largest shapes. And it's better to go large to small, least detailed to most detailed for the reasons we talked about earlier during the introduction. So for the body, it looks like it hits the muzzle right about here, goes off the page there, and that's really all you see of the body. So we can just draw a line there. No need to draw any lines for, for will do that when we're putting the burden for the ER. We know we can start where our head stopped right here. And then we can see it goes kind of across and this corner it looks like it's pretty close to the top, a little further from the left because it's kind of far from the left. I'm going to use my pencil to measure one to about a third of the way across this, this drawing is fond of thirds. It looks like that's approximately right. I'm gonna move it just a tiny bit more to the left. And then from there it's going to come all the way down to the bottom of this next box where it curves pretty close to the bottom edge. And it's going to touch the grid even a little closer. And then the tip of that year comes very close to the edge of the box, right about there. And then it's going to curve up and around. It's going to hit grid lines very close to this corner, about the same distance on this line. And then it's going to hit this grid line, almost halfway down, but a little higher than that. Let me just check to make sure that that's a little bit higher than halfway and it is. And then it's just going to return into the head. So let's draw that shape and then we'll add this dark shape. You can start anywhere you want. You can go backwards if you'd like, you can go forwards, you can do a little of each. I'm going to start up here and just try to copy the approximate shape. Don't worry if you're not making this a smooth line. If you feel like making it a little sketchier, that's fine. If you do choose to do it that way. I usually advocate for erasing any sketching this before you put in the further leader because it might it might make it so that you can't really decipher where your real line is. It depends on how sketchy like to get. So it's going to be something like that. And then we'll add the dark part. So the dark part is going to touch the light part right about here. Touch the grid line here and about here, and then end up at the phase. Let's see. Actually I don't need to measure across because I already have a line there telling me where the across measurement is. I'm just going to see how far down that box this line is. Let me do it this way so you can see without my hand and the way one to little more than a third. So I'm guessing here, 12. That's probably a little high. Let me try again. Two. Yeah, that's a little more than a third, so it's going to hit right about here. I'll go out. And then you can just sort of eyeball these little bumps if you, if you really want to use your welcome to measure them, you can measure each corner on each bump totally up to you. But for something like an ear flap, its not going to make or break. The realistic quality of this drawing. If you're bumps aren't in the right place, what will make or break it is if the eye is too small, too big in the wrong place or the nose. Some major feature of the dog's face. Those are things we really want to be accurate with. So that is all we need to do. Um, actually, no, let's do a top flap for the ear. So this, we'll, we'll do just this edge that way. We'll know where this kind of meaty part of the ear is. So that's going to start at the same place we started the first time. It's gonna go a little bit below this line where it hits the grid right there. And then when we get down to here, it's very close to this line as well. And it's really going to go off right about here and become the same line as this. So from there, we'll just go up and over, something like that. Okay, now we're done with the year. 9. Drawing the Nose - Main Shape: So now we're going to draw the nose being and also a large feature. We're going to put that in next. So it's mainly just a circle. You can kind of see where the nose ends and the black furry kinda shadow around the nose begins through most of it. We're going to try to just stick to the actual nose shape itself, not including the BlackBerry part because that will be just fuzzy and put in later with values with pencils. So let's start with the news kinda begins. This is just sort of a guess because you really can't decipher where the nose edge ends and the black fuzzy begins, but I'm guessing right about there, which looks like it's about halfway up this box. And then the left side of it is very clear because of that highlight. That's going to be very close to the grid line corner here. And the bottom image is going to be about a quarter of the way down this box, right about there. So that's really all you need. Then you can just draw a big o, partial Oval. So it's gonna kinda around, around into that little dot, into that little dot, and then around up off the page. And I feel like this is a bit too much of a corner, which means I didn't make my top part round enough. So I'm going to make that stick out a little further. And then when it comes in, hits that dot, it's coming from the left down rather than from the right down. And then it will make a nice round shape. Instead of a corner there. 10. Drawing the Nose - Details: So from there we're going to do nostrils are actually, let's do this line in the center of the nose first, I'm going to measure how far over that is 123 and about a half. So I'm gonna find where approximately 3.5 fit into this box. Three, that's more like a quarter, so I'm gonna go a little bit bigger than that. 1.523. That looks about right. So that's where the center line of the nose is. And I'm just going to draw, it looks like it's a bit of an angle actually. So I'm going to draw bit of a tilted line, something like that. And that'll just help us to orient the nostrils better. It's really very faint on this picture and we may very well just color over it, but it'll help us in putting the nostrils. And so the nostril on our right Spark is left nostril will be almost halfway between these two. And then the bottom of it, that's almost impossible to see. It's so dark right there, but it looks like it probably goes off right about there. And the height will be about here, pretty close to the corner. And again, if you want really exact measurements, you are more than welcome to really measure that and see how many fit in the box and make a mark. Go ahead and pause the video, take all the time you need. It's just about what makes you feel good, whether it's measuring super accurately was everything or being a little more loose with it. Either way is fine. So the other nostril is going to be about the same distance from the center line is this one. So about right here. And then it does this little curly cue thing or it goes off, kinda like a sideways comma. But the, the edge of them fleshy part right there looks like it's about they're just kinda sticking in from the nose a little bit. And then from there we can just, oh, I forgot the top. We need to make a mark for the top which is about parallel to the top of the other nostril right there. One way to judge that though, is you can also use your pencil to check the angle. So if I lay my pencil right on top of each nostril, I can see the angle that my pencil is tilted compared to the grid line. And then just check it here to see if it's the same. And actually my left side could use to come down a little bit more sparky to right nostril on my left. So then I'm going to draw, going up this way. It's gonna go over a bit, come down into this dot, and then touch the grid line and curve right up into the side of the nose right there. The bottom of the nostril just barely extends below the grid line. So barely that I didn't even make a dot, a mark there. And then it's going to connect loops on the other side here. And then I'm gonna get rid of this bit of the original oval and we'll just be left with the nose shape. That is our nose. 11. Drawing the Eye - Measuring for Placement and Size: So now we're gonna get to the soul of sparky and we're going to draw his eye, the outline of his eye. So the eye is, we're going to start with just a basic sort of Lenin shape where it's got two points and it's very, very round, much rounder than a human eye. So it's almost a circle with two little points on it. And it looks like the inside corner of that. I am going to measure this carefully because as I mentioned before, it does really matter if the eye is accurate, not as much as ER, bumps or whiskers or anything else like that. So the inside corner of this i fits into this box 1234, almost a fifth. It's actually very close to this line. So I'm going to guess that it's going to be here and just find out 1234, that's a little less than a fifth. So I'm gonna make my space just a teeny bit bigger and try again. One, 234. That's a little bit bigger than a fist. So that's going to be the inside corner, horizontal measurement. And then let's see how far down it goes. The other thing I should mention is this is pretty vague right here because there's so much dark first, so it is hard to see. So if you want to make a little dot on your paper that you can see your, your pencil lead will be shiny so you can see it. And that way you can keep track of where you are actually measuring from. That would be fine. So I'm going to measure down from there 12 and little more than a half. So let's see if this is kinda close to that one to that, that's actually about right, 1.52 or a little bit more than a half. So that's the inside right corner. The outside left corner. I'm going to just see how far across that is. And this is one way to do it. Actually, I can take this measurement. It's a floating shapes. I can see how big that is compared to the grid. It's just a little bit bigger than the half, half of this grid. So that's exactly half. That's a little bit bigger. So I know the left corner is going to be around here. But I'm gonna make a likes, I don't know exactly how high it should be. I'm gonna see how high it should be and compare it to how high it is over here. It's actually just barely higher. It looks looks higher than that to me, but it's not measuring that way. So I'm going to just find a little bit less space than is here. Move it or make a mark. That's not the only way to do that though. You can also, as long as your pages are perfectly parallel to each other, you can do the angle sing again, where you put your pencil through those two corners. And then noticing the angle, move it over and see if they match up. The way I did that, that does not match up. Let me try that again. It's helpful if you can keep your elbow straight actually, but I'm in a very small space and I'm not able to extend my elbow. But that will help keep your angle measurements more accurate because it's one less way that your arm can move as you're moving your pencil over between surfaces. I'm gonna make a mark here and try that again because I keep measuring that it needs to be a little higher. Yeah, that works. That's better. So I'm going to erase all this stuff around it and just leave a little mark. Okay, we've got the corners. Now, we're going to measure how tall it is at the highest point, which is in the, excuse me, the tallest point which is in the middle of the eye. So from the very bottom to the very top, I'm going to see how it compares to the length. And it's almost the same but a little smaller, just about like that. Or the eraser crumbs. And then I'm gonna guess, but I'll check it in a minute where the top is going to go. I'm guessing it's there and there. And that's just guess a guess based on trying to center it between these two lines. But I'm also going to check against the grid and see how big that is and I can compare it to anything I can, I can see how many fit into here. I can compare it to the side. And I'm gonna do that because it looks like this measurement is the same as this one right here between the grid line and that inside corner of the eye. So I was pretty close, but I'm gonna move it up a tiny bit. Whoops. And I'm gonna move the bottom up the same amount. So now we have a really accurate placements for this i and then it's just about drawing. 12. Drawing the Eye - Adding Shapes: So this is a great example of how the brain is always tempted to just connect the dots. But this is a really round shapes. So we're going to start going up almost immediately. And then just around right into that dot, the outside corner, it looks like it's the pointiest parts so that can sort of slide down at an angle. But then this is going to get round again right into that bottom DOT. And its so around here. I'm really going to try to extend that line as much as I can before coming up rather than just connecting to it and making it too pointy in the corner. Erase that and put in nice clean line. So now we have the very outside rim of the eye. And we're gonna put in some details in the middle, starting from the largest to smallest. You can see on the area outside edge there's this little bit of white and I'm not including the for here. I'm, I'm very much inside the eye, so the line we just drew is just the very outside edge here. So this little bit of white here, I'm just, it's so tiny, I'm just going to eyeball it pun intended and make that a really smooth little cutout. And then from there we've got this dark black line, very thick line kinda outside of the iris. And I'm just going to draw another circle on the inside edge. And this one, I'm also eyeballing because it's so close to my original shape that it's just easy to see how it travels. It's thicker here, it's thicker there, it's a little bit thinner down here. And it's gonna sorta just disappear under the lid right there. And then we have the colored part of the eye and a very large pupil inside of it. So that's only one line because it just separates those two shapes. Same thing. I'm just going to draw a circle. Kind of mirroring the same shape here, but paying attention to when it gets thicker acinar. There's a little bit of a wobble right here. And then this is pretty vague how it fades off. So those are the parts of the eye, the anatomical parts of the eye. And then we have a reflection which will be slightly lower than the top lid here, looks like about right there. And this you can sort of copy as best you can, does not have to be exact since it's a wobbly reflection in a very liquidy shape. And that is our dogs, ie. 13. Drawing the Mouth and Markings: So now we're going to add the mouth and some indication of markings. And then just take a last pass and see if there's any nuances we want to add anywhere else. So the mouth after the muzzle part after it kind of returns and goes street here, it starts to curve up into the top lip. How far across as that 123 is about a quarter of the way across. 123 ands and those are guess okay. But it was a good one right there. And then it's gonna go just a little bit higher. So right there is where the mouth and the muzzle are going to meet. The top lip are gonna meet rather bottom lip and top lip is going to kind of peek right underneath this line because that's the middle of the mouth and then start to cascade over. So right. And then where I made that line, that's where the bottom loop's gonna meet the top and it's gonna go down little dip and over. And I'll erase the mark in the old line that we don't need anymore. And I do feel like this is a little bit low, so I'm going to just I'm going to check and see how high up that goes, 10. It's just about halfway up my grid. No wonder it's low. Yeah, that's nowhere near halfway. So I really underestimated that. I should have measured it to begin with, but since I noticed it was low, that's a good thing. That just means I learned something there. So we're gonna go up higher. And then it looks like he has human lips there for a second until I raise this. There we go. That's better. Okay. Now for markings, you can see this dog is very modeled in his fur, which is part of the reason I chose this dog. Because I really enjoyed the way you can see the direction of the foregoing and all the different strokes and the different lights and darks we can put in. I would not suggest trying to go too crazy with drawing markings in because it'll end up looking probably a little outlined if you do that. But it wouldn't hurt to make just a few notes for yourself to where major areas of light and dark are. So we can do a mark for this white area here. I wouldn't worry about measuring this at all because it really doesn't matter how, if it's a little thick or thin or slightly going in a slightly different direction. It's just a marking. So I'm just sort of guessing. Looking at this where the white touches the grid lines goes in there. And then I'll just have it in there. So I'm going to just draw a line, kind of marking this For me. It's gonna come down to here and then sort of round off and come very close to the nose. And yeah, I guess I'll do a little more. So this is going to come, the edge of the white will come to about here. There's just this major white marking down to here. And then it becomes the grid line here and comes out to a little point. So we'll do something like this and like that. And then at the top, it kinda just does this pointed thing. And we'll leave it at that. I'll also do the other side that also marks the left side of this black part. I'll do the other side of the black part which is going to come to about here, looks like the tip of that black marking comes up about two there. And it's gonna go off the page right about here. And do something like this. And then I think I'll just kind of, well, I'll make it teardrop up here because that really dark part does that or you can just leave it hanging. So that's good enough for the nose really. Muzzle part. That will probably be adequate if if there's anything else you see that you think, oh man, I really want to know exactly where that is. Go ahead and draw yourself aligned, just make it very, very light so that when you're layering over it, it's still sort of disappear under the darker layers of color that your value that you're gonna be putting in. And that is it for markings, mouth and nuances. 14. Lighten Lines and Erasing the Grid: Now we come to the very last part, which is really satisfying for me. I hope it will leave for you to, which is to erase all your grid lines and lighten all your lines. I'm going to try to do this without shaking my table too much, but it's sort of inevitable. So as you can see, as I'm erasing my grid lines, they're not going away completely. And the reason for that is I used a dark pencil and I pressed hard. And as I was talking about earlier, I did that so that you could see my lines. But hopefully you used a light pencil impressed early lightly so that they just disappear completely. If however, you have the same issue I have, which is that your lines are not going away completely. Then you can retrace it. And I'll talk about how to do that in a minute. If you are going to retrace actually, you want to do that now before you are, before you lighten your other lines, are actually you don't have to lighten your other lines because you're going to retrace it. But for those of you who were able to erase your grid lines completely, go ahead and erase your drawing very, very lightly. What we want is to be able to see our drawing, but not super well, because it's just an outline and we don't want the final dog to look outlined. We want him to look filled in with beautiful textures and layering of value. That's not to say that some areas of the dog won't have a line like the crisp edge of the eye or something like that. But for the most part we just want to have this as a strong guide, but not peeping through the final drawing. So once you've done that, you can blow off or wipe off your eraser crumbs. And you're ready for values. For those of you who want to retrace onto a new sheet of paper so that you don't see any grid lines. What you're gonna do is get a new piece of drawing paper and tape it on top of your drawing. Just tape it at the very top. Have your ruler, and then you're going to put it in a window so that you can see this has to be done during the day so that the light of day is showing through the paper. You should be able to see your drawing on the new sheet of paper as well as the frame and everything. And you're just gonna trace the frame on with your ruler and then trace your drawing onto new sheet of paper using your light pencil drawing very lightly. And obviously you're not going to trace your grid on. Once you're done with that, we can reconvene here and get started on talking about values. 15. Value Layering Practice: Now before we get started with actually putting our first set of values on the dog or lightest pencil. I just want you to take a few moments to do this exercise with me so that you can practice first of all, and also just to have an understanding of why or layering the way we are. So I'm just looking at the very corner of sparky XY or there's this little black marking right here. And we're just going to use that as a place to practice. What I want you to do is grab your lightest pencil. Mine is my 68. You may have a different HB pencil, but whatever your lightest pencil is, grab that and just make a few lines, kinda scribble, Scrabble lines mimicking that sheet. And then next to it do the same thing but much bigger. Make it really big, really wide, or really, really wide. So what we're doing here is I'm showing you what our tendency is when we see that. And what I would like you to do, which is make it really, really big with the light pencil. The reason is we're going to be layering and layering and layering with darker and darker pencils. And we don't want to just make that one shape. Because if we do that and we layer over it, we won't have the texture and depth that we would if we really exaggerated the size to begin with. So we have regular size and then really exaggerated with our six H. Now I'm gonna take my next HB pencil. I'm gonna do another layer of lines over that. Same thing, but I'm just kinda going over what I did there in this one. I'm going to go over it, but not quite as big. So that some of my original lines show through on either side, on both the top and the bottom. Do another layer over here because I kinda went over this a lot more. And then grab your 2B. Same thing, just kinda go over it. Covering up what you've done there and here, doing slightly smaller. So with every layer it gets smaller and smaller on the right side here. And then grab your first be pencil. Mine is my 2B. And kinda go over this one again. And with this one gets smaller into the center. And then finally your darkest pencil. And this is going to be the smallest layer, the thinnest layer. And now just looking at the two samples, you can really see how much richer and textured This one is Vs this which is just kind of a stark area of dark next to complete white. So we're going to be covering the entire dog this way with really, really large areas of light lines. And then with each pencil, we're going to get smaller and smaller areas. And the end result will be a really richly textured, lovely dog. 16. Lightest "H" Pencil - Top of the Ear: Alright, so now that you have your drawing already, your lines are erased so that you can barely see your dog. And again, notice mine are actually fairly easy to see, but that's again because I want you to be able to see very well what I'm doing. But you are lines should be very, very light. Now we can start putting in for. So we're gonna use our lightest pencil. In my case, it's a six h. Just pick whatever the lightest pencil as you have. And we are not pressing hard with this pencil. We're not trying to achieve the same value. Lightness and darkness that this photograph has. Oh, and by the way, switch to your photo paper reference if you have one at this point, now it's when you want to have that high-quality image to copy from. Your main concerns here are copying the direction and the quality of the lines or the fur. We're going to start with the ear. Just because we can, it's on the left side, Y naught. So we'll start here and we're just gonna put in, start coloring. Mainly coloring. But I'm paying extremely close attention to the direction the firs going and I'm not worrying too much about being perfect, are making all the dark spots where the dark spots are just want to get a layer of lines in approximately in the direction the firs going and approximately, approximately the length. This dog is obviously very short haired. So the length is short. But as I move up towards the top of the ear, the direction changes a little bit. It gets more horizontal. So I'm really copying that. And I'm also, instead of coloring, I'm kind of putting my pencil down here and then flicking out to the side. And I'm spending a bit of time up here because that is a darker area. The IRR in general, not just a spot here or there. But I want to get a nice layer of lines down on that area because this is my roadmap I'm creating right here for the rest of my pencils. As I go along and as I get up to the top of the ear, it's gonna switch directions a little bit again, kinda going just up a little bit. And kind of looking out to the side. I sort of skipped over this whole middle section for no real reason. So I'm gonna go back and fill that in. Gradually changing direction to horizontal from diagonal as I go up. And then I'm gonna go on, I'm going to continue on to this little flap of the ear. I can always go back and add dark spots right now. And like I said, I'm just concerned with getting the for kind of in a basic way. Kinda like we did a drawing in a basic way to begin with. This for along with lab of that year seems to have a midline almost like a RED In the middle of it were the fur goes down in the bottom and then it switches directions and goes up at the top. And you might be wondering why it's so important to get the direction of the for correct or reasonably correct when we're so early on and we're obviously gonna put a ton of color over this and it's gonna get much darker. The reason is it, like I said, it gives you a kind of a roadmap for where you're going. So when you start layering in the dark, darker pencils, you're gonna go naturally in the direction that you've laid down in the beginning. Because that's what our brains want to do. They want to follow the kinda direction that's already there. So now is the time to pay attention to that particular detail of every single part you're putting in here. 17. Lightest "H" Pencil - Finish Ear & Start Face: In the inside of the ear. Obviously that's just almost black. So why would I put the light on? Because it's a process of layering. Often if you don't layer, you'll notice kind of harder edges between your darks in your mediums, you're mediums and your light, that's not always the case. You can skip that if you want and not put light down if you feel like it's a waste of time, but I recommend doing it if for nothing else, just to have the experience of doing it and see what you might gain from it. So I'm gonna go in here and that is really a black hole. So I'm really just gonna kinda scribble, scribble over it because there is no direction in that particular part. But pretty quickly we come back to the direction of the fur right around here where it starts to get a little bit light. So there I am going to pay attention. Where's that for going? It's going up and to the left. And then here it gets a little harder to see a little black. So I'm going to do some scribbles, gravel again, and then come down into the lighter part where you can start to see for and go in that sort of upper left direction. But I'm not making every single line going exactly the same way it is first. So we do want to have a little bit of variety, so I'm getting a little sloppy on purpose there. And then here we have a little bit of lightness and a little bit of darkness. So I'm going to color that darkness with my pencil, just kind of solid. And then with the lightness, sort of make that little triangle shape. And then a little more dark right next to it. And because I'm using such a light pencil, there's very little variation between those two areas. But you can kind of start to see it and it's just a suggestion. There's a little bit of for rate here sticking out and you can see what I was talking about. If your lines are too dark, you're easily going to see them through the firm. We don't want that. So at this point, if you're still seeing really distinct dark lines, go ahead and just erase a little more before you continue and it'll save you some having to erase later. Again, I'm not gonna do that because I want you to be able to see my drawing. As I move on here, it looks like the edge is a little darker than. This edge is a little bit darker than part immediately inside the ear. So I'm going to put my line's a little more densely there. And then here it kind of goes criss cross with the for age is put right there. It looks like it's hard to tell, but it can be very rudimentary as long as you're basically going in the same direction as the fur on the dog, you'll be fine. And there's a little bit of a dark shadow kind of a line coming up right here. This kind of forms align and that's probably pretty good for the ear. So now we'll move on to the face and just start coloring like crazy. So fors gonna go off to the left here. Don't worry too much about the stripes. But hey, if stripes happened to make their way into your drawing this early on in his great more power to you. By stripes, I mean these kind of markings on the dog. But the thing you're paying the most attention to is just the direction of the firm. And you can't really go any, like you could go along the edge of the phase. You could go across the full. I'm going to go across the forehead because I like to do larger blocky shapes, but at this point it really doesn't matter. You can kind of take off in whatever direction you see fit. I'm using the areas where the firm is more obvious as guides, sort of crutches almost where I can see the black and white for overlapping. And in that regard, I guess I am kind of putting it in the stripes, but I'm using them really to help me figure out where the For is going, what direction it's going in. 18. Lightest "H" Pencil - Forehead & Muzzle: Here it's starting to kinda curve over the head. So i'm going to abandoned my coloring because I don't want it to look like little blocky lines here. I want it to be more gracefully, sort of curving over the head. And I'm going to make independent lines something like this. And longer because that's where the For is longer. Even on a short haired dog, it's going to have areas of longer and shorter for and then as it comes into his eye area, it gets shorter and shorter. And the first seems to go out more to the side and sort of curve over the island. And then here we have these little hairs starting to go towards spark. He's muzzle, his white marking right here. It's getting less and less curved over the top of the head. It's starting to go more straight up right in the center. If at any point your hand or your wrist arm starts you tired, just pause the video and take as long a break is you want five minutes, five days, whatever, whatever floats your boat. And then when you're ready, press play again and you can keep following along. As I get down into the center of the muzzle here, I just got a little hasty and kind of went on autopilot, but I didn't realize the first was starting to kinda go out to the side. So it's so light. I don't even need to erase it. I'm just gonna kinda go over it and continue on my merry way. And then here it's sort of starts to compete with that direction and go a little more down, curved again. And it come down the center here with these tiny lines. And then they start to splay out to the side as well. All right, around here. I'll start to kinda go down. It looks like a little down, a little sideways. Something of both. It's almost difficult to decipher there. So you might also be wondering why I'm putting lines over the white areas and it's because they're actually not white there, light grey and they do have a texture to them. So we don't want just plain white papers showing through anywhere on this dog. It's all going to be at least a little bit textured. This is where the piece of paper with the whole cut and it could come in handy if you kinda want to convince your brain of what I just told you. So I'll take a break for a second and show you if you take this paper and put it over one of the wider areas of Sparty's phase. You can compare. So white on his face to the white of the paper and see that even the widest part is light gray. And you kinda look at that and memorize how, how grey that color is compared to the paper. And then move it over and see, yeah, we're not even close to how agree that is. So we are going to layer some more. And that's just sort of the process. So I'm going to keep going up here. And here there's just teeny little dabs and dots and marks right up the center of the nose. 19. Lightest "H" Pencil - Mouth & Chest: Also feel free to go outside the frame. In fact, do go outside the frame because the frame just marks the basic territory of your drawing. But it's always better to go outside the frame because when you frame it or mad or you're going to cut in a little bit and you never want to have like a little bit of white showing next to the edge of your frame. You always, when you're drawing, going completely off. Unless you're doing that on purpose for conceptual, aesthetic reasons, which is a whole nother ballgame. But for our purposes we can go off the frame. And I'm going to get into this white patch here. And the wider patches are the hardest to tell what direction the For is going in because they're so light. But we can still just kind of use the surrounding further as our guide. And they'll stripes in the for here it really starts to change direction. And I'm going to start coloring again because there's very little linear work here. It's, it's more shading. So I'm not too concerned about the individual hairs. And then here, down here, so light and so lacking direction that I'm just gonna do scribble like I did in the black area. It's kind of ironic that I'm doing the scribble in the very lightest and the very darkest parts. I'm going to continue that a little ways out from the stripe into the for, just to create a little bit of a transition between the white and dark. And then I'm gonna continue coloring. And down here, it's kinda going following the curve of the muzzles a direction of the fur and do something like that. Just really filling it all in. And then as we get around the base of the nose, that's what I'm gonna do. Some scribbles, Scrabble again because that's almost not even farads. Is skin with a suggestion, a dusting of very short for over it maybe. I'm not even really certain if that's correct. It's just sort of it looks like so there again, I'm not concerned about direction. The lines just getting a value on there. Same thing with the lip, the bottom lip just getting a value on it. So now I'm gonna move down to the chest and just put these light little hairs on going towards the left diagonally. And then right next to it, the fur becomes very vertical and pretty dark. There's some light spots in there, but I'm going to mostly just cover it up pretty solid. And then right next to that there's a little bit of a light space. And I'm gonna make a line to mark the edge or the dark starts. And then I'm going to pull some of the long, long strokes, planting my pencil and flicking out to the right to mimic that dark beginning in the wispy light and those little hairs in that part. And then right under the lip it kinda starts to become vertical again. But in order to unify these two sections at once, I get sort of a piece in there, the jargon just going to flick out to the right a little so that they sort of Mary there. And then I'll keep going. Or very vertical for over here, all the way off the edge. Pressing a little harder where I see it darker and making my color, my value a little more thorough in those parts. And that's pretty good for now. 20. Lightest "H" Pencil - Nose & Side of Face: Should I do the nose or the side of the face? I feel like doing the nodes. So the nose is going to be more scribble, Scrabble both in the black area and the nostrils and on the nose itself. You can just scribble, Scrabble the entire thing, even those highlights. One of the cool things about that particular texture, that knows texture which you'll also see on things like lemon skin or orange skin. It's just this sort of Dadi, rubbery texture is that scribble, scribble makes a great texture for it, which is fairly effortless. You'll kinda see what I mean when we get into the darker pencils. But in this area or the highlight is just doing these big circles is a great hack for creating that texture. And we'll go and fill in the side of the face now so the area around the eyes very dark. So I'm just going to color that in solid. And I'll go up and do that a little bit on the top of the i2, which I didn't do before. And I'm going covering an area that's larger than the area I see on the picture because this is my lightest pencil. It's so light compared to the pencils were going to put on that. It will kinda register to the eye as white after we get those really dark ones in. So we can be very generous with the area we're covering. The darker pencil is probably only get come out to about here. And that's really what you're, your eye and your brain will register as the dark patch around the eye. It won't even really notice this light stuff. The light stuff is there to create richness and depth and unbelievable for. So this is starting to curve out to the left here. And then here on the left, very left side of the face, it gets very short and even a little blurry. So it's kinda hard to tell the direction of v0 is going. So I'm doing a little bit of crisscrossing, going outside the edge of the face, just a teeny bit so that it doesn't appear to be a very hard edge. And then I'm gonna go back up to here near the eye. And that white stripe is a little more telling. It kinda starts to tell me that the fiber is going in these various directions. Pointing out to the left at the top and down to the left at the bottom. And then here I'm going to join the texture I did before down here with the texture I'm doing now. There's a little bit of an edge right here, right there. So I'm gonna just make kind of align and then color a little bit darker right next to it. Because the left side of that edge is a little bit darker than the right. Again, just creating my roadmap. And then these, this verse seems to be going down to the left a little bit. And then is, is just all over the place. It curves up to the right as we move, excuse me, curves up to the left as we move towards the eye. So that's our first go to lines on the fur. 21. Lightest "H" Pencil - The Eye & Finishing: Now we'll put a coda lines in the eye itself. So we have the dark edge we've already drawn that this is the white part of the eyes actually going to be fairly dark gray. And then we have the iris part, which I'm going to color. Actually I'm just going to color the entire IE solid. But with the iris we're going to color towards the center. I know I didn't do that. There wasn't really paying attention, but now I am. So we want to imagine that the center or, you know, it's like spokes on a wheel. Like here's the center of your wheel in your spokes are all coming out from it just to create the directional texture of the iris. And then this is just solid black. We're not going to color the highlight. While not entirely, I should say. You can put us a little bit of something in there. There's the light or whatever it is. It's shining in his eye and you can kind of create, replicate the shadows in that light. And we are done with the lightest pencil. So you can put that aside. Or actually if you, if there's anything else you want to go over, you certainly can't, and you can go back and add a little bit more where you want to see more stripes, but you can also do that with your next pencil if you have another H pencil. So it's really, really your call if you want to go back and do more with the first pencil. If not, go ahead and put it aside and grab your next H pencil. 22. Darkest "H" Pencil - The Ear: So I'm grabbing my 2h pencil, which is my slightly darker of the H pencils. And now I'm gonna go back and do pretty much the same thing except you don't actually have to cover the entire dog anymore because now you're focusing on the darker parts. In my opinion, this is where it starts to get really fun because you don't, it's not so laborious feeling. So I want to really emphasize here that I am putting dark over most of the dog. I'm really only leaving part showing that are extremely light. Even though there's this dotty pattern here. What I don't want to do with this pencil is just put those dots in because it will be very kinda two-dimensional. We're using the variety of pencils to create layers. And with each layer, we're putting down more than we think we need to, leaving very little light showing. So I'm climbing up the ear here and really laying in most of the ear again, following the directional lines that I set out for myself with my lightest H pencil, my six h. And here I'm gonna get a little bit darker, blue. And I'm really gonna go much lower, much further out with this pencil. Then I think I need to. So that when I come in with my darker pencils, I really have an area that's laid out for me to layer those dark pencils into without having to restrict them so much. On the edge of the ear here I'm gonna go pretty much color the whole thing except for that extremely light edge. Now I'm starting to lose my initial drawing, which is what I want. So hopefully you're starting to lose yours too. We want, we want to lose the line drawing and replace it with volume. Replace it with the for the flesh of the animal. Here at the bottom is getting pretty dark. But I can't get very dark with this pencil because it's still just an H pencil. But I'm gonna go a good ways into the dark part of the ear. Because the fur here goes a good ways into the dark part of the ear. And then I'm going to do more scribble, Scrabble and the dark part of the ear going over my initial H pencil, right up to the edge of my line. And don't worry too much about covering it completely though, because I am going to go back with with the darker pencils. Sullivan here going at an angle. So very dark inside of that year though. So I really do want to cover up all the weight or color over it. I didn't not every little bit, but with all this layering, you kind of can't help but do it unless you try in a dark and that little triangle. And dark and my light parts even darken the part around it. Scribble, Scrabble and they extremely black part. And then continue coloring little bit darker here and here. And I'm getting a little more wild with my strokes because I'm getting more into it. Hopefully you are too and just sort of feels exciting to go many different directions and not be so focused on the direction of the fur. And the reason I'm able to do that is because I spent a good amount of time laying out my roadmap to begin with. Here is all very light part of the first, I'm not going to pay to spend too much time here. I'm just gonna put in some little light directional lines kind of on the edge to try to camouflage my drawing line. And then go down into the darker parts because I do want that to stay pretty light. 23. Darkest "H" Pencil - Side of the Face: And this time I think I'll come down this way. I'm not gonna go the same way I did last time. There's really no reason to have to do that unless you want to. So you can go anywhere you want. Coming down the side of the phase. And it looks like the lines change direction quite a bit right here. And then here it gets pretty blurry. But I'm going to be pretty hearing pretty closely to the shape of the face that jog really curves right there and meets this part of the muzzle. So I'm making strokes to kind of create that shape. And I'm going to go back up along the edge of approximately where I want that white stripe to B. And then I'm gonna come into here and go all over the bottom edge of the muzzle. Kind of following my original directional lines, loosely, breaking the rules some places not in others. Now I'm starting to pay more attention to those markings. And because they are organic markings there very loose. As we've discussed before, it doesn't really matter if you're adhering exactly to where they are unless you care about that and you are more than welcome to do so if you want. Main important thing is the direction lines of the for and that you're following the anatomy of the face. Sort of the contours of the musculature, what lies beneath the fur. So let's just pause here for a minute and you can really start to see, wow, that second pencil is really making a difference. So you can really start to see the for building up. Here I'm gonna go in around the eye because I feel like it and dark in that part, there is a little bit of a highlight right here, but it's a very dark gray. So even that I'm not paying attention to you right now, I'm just going to fill in with this, this next each pencil, I will probably leave that showing more when I get to my be pencil next to my HB pencil next. So you can probably start to see the effect of what I was talking about before where I had said really go away wide with that lightest HB pencil because once you start putting in the dark pencils, you, you won't even really notice the light stuff. You're just going to layer and layer and layer. But with each layer, your coloring, less surface area. C, you want those lighter layers to stick out beneath the darker ones. Lots of little lines around the eye so that we go kind of gradually from dark to light. And then here I'm going to start going up tiny little lines. And I'm going to give some life to this black marking above the eye. And not paying too much attention to the black markings as they are because they're very thin. And for the same reason we colored a lot more light around the eye. We're coloring a lot more of this next pencil into approximately where those dark stripes are. Because when we go back with the B pencils, we're gonna put less and less and we want those to have plenty of light pencil beneath them to build upon. So now I'm kind of following the, you can sort of see the shape of his skull beneath this i part right here. So I really want to emphasize that curve. And then here I'm just going to color pretty long strokes. Little, a little haphazard, but mostly going slightly down at an angle and then moving up to horizontal right here and then curving over the top of the head as I go up more. 24. Darkest "H" Pencil - Center of the Face: And at the top there seems to be kind of this little edge of darkness up here. Medium, darkness, not very dark. I can start putting that in with my with my H pencil that I'm using right now, which is 2h. And then I'm going to come down from that edge, sort of making sure i'm going down in the center of the face like variety on the middle of that should be the straightest part, straight shot to the nose. And then as you move out from that center line, kind of fanning out to the right or the left, such as the case maybe. Oh, you know what, I never did this little teardrop shape I just realized, well do it now. Little hairs change directions so quickly down this muzzle. And he's got almost a couple sins stripes going right down the center. So I'm gonna just go crazy with the H pencil, 2h pencil and just lay down is kinda well, they don't look like right now, but they are very light compared to the 4B and six viewer go in with, excuse me, for B19, B, 2B, and 90. I can't render which pencils I have. They all exist and they're all great. So whichever pencils you have will be lovely. And as I move out here and a little bit more darkness and the lighter even not a whole lot. And then really just focus on the dark part. Getting a little scribbly around here. Then in white stripe. Let's see. Yeah, let me go to the white stripes. So here I'll put down a little bit of dark, a little bit of dirt going up. Kinda blends with the corner of the eye pattern there. And then this is real fuzzy. But as you move to the right, you can see these little tiny lines starting to go up and up to the left direction. So I'm gonna put in some larger stripes as a basis for that later. And here I'm going to dark in this little dip that I had put in earlier as part of the drawing phase. Kinda come around it. And I want to break that line as much as possible. So I'm going to press a little harder there and try to kind of camouflage it. Now will come back down here and get a little bit of that kind of line breaking texture here as well. Starting to kinda go out to the side and diagonally down at the same time. And then as I come around the edges and nodes, I'm going to start coloring pretty solidly right here. But as I get back into the stripe, that's what I'm going to start putting more lines in. 25. Darkest "H" Pencil - Muzzle & Chest: And I'm going along again and really want to get lots of coverage on these lighter parts to make sure they are not neglected and look to vacant later. That being said, you can always go back and put more light in later and I'm certainly will. There's a part of the end with touch ups and going back and making final adjustments. And that will certainly be part of it. And you just sort of look over the whole thing and ask yourself, where does it need more, where does it need less? New ad and erase, such as you need to. Down here more scribble, scribble, lack of For part, but very dark. So I'm really coloring the whole thing again. And this going in many directions and coloring kind of encircles adds a really nice organic sort of free feeling. That part to any part you do that with. Really lift this up a little so you can see it. Whoops, I covered up my photo and do the same thing on the lip. And move out to the bottom edge is a muzzle. Or it starts to get a little furry again. Teeny little hairs kinda going down to the left. And then I'll join what I've started up there. And I'll come down and do the body again. So adding a little more to the left side there, that's not, none of this is very white. And I'm going to add some more depth to these darker stripes, darker areas. And I'm going to color a little more direct right under the muzzle just to create a little bit of a shadow. There is sense of separation from the muzzle to the body. And then I will put in some more dark, those nice long soft lines coming out to the array. And some vertical lines on the right side here. And then those will join by just creating a bunch of curved lines as will join on the left there. And this looks too bright white, so I'm gonna just put a light code for a Get over it even though it's taking away the depth of the contrast between the light and the dark. I am doing it because I'm going to put much darker pencil over the top anyway. And I really want those values to be pretty consistent. 26. Darkest "H" Pencil - Nose, Side of the Face, and Eye: So I still need to do the right side of the phase and the nose and the AI. So I'll do the nose because I feel like it go over the nostrils. Scribble, scribble, scribble, scribble. And I'm really gonna do the whole knows the same. So I'm only isolating these because as I use a darker pencil, I don't want to lose my shape of my nostrils. So I kinda did that first and I pressed a little harder just to create some separation between the two so I don't lose my edges completely. I do want to be able to see them so that I can know where to put my dark pencil later. And up here I'm going to do lots of circular scribbles, but I'm not going to do so much over that highlighted area. Do a little bit. But I'm really going to focus more of my attention on the darker parts. And then go back up to here, get some of these little lighter lines going out to the side. And spark is muzzle. Here's a bit of a dark spot there, but I'm going to create a big dark spot and then layer the 4B. Sees me to keep seeing 4B. My other, my B pencils over it later. And I'm going to start putting in suggestions. So directions of these lines, because I really did cover those up completely when I put my big dark areas down the center of the muzzle And I want to reclaim them, something like that. And then over here, continue going out to the server and do a little more coloring here. And then up here, it seems to change direction very quickly where these black markings are. And then in the eye. And we will go back and dark in the areas that need to be dark in which is pretty much the whole thing. Not so much to highlight, but definitely the iris as you need the pupil to doing renew. Just another coda lines. Definitely the upper limb, which I hadn't done before. When I did the lower lynn kinda just went off on a different direction. And then the IRA, which I'm going to dark in the bottom edge of first. And then do my wagon wheel spokes thing. And then this really black area. And I'm spending a little bit more time here because I want it to appear slightly darker than the iris just so I don't lose it. I want some contrast between the black is the area and the iris itself. And I'm leaving a little sliver of light they're showing for that white part of the i k. And that is our second H pencil. 27. #2 (HB) Pencil - The Ear: So now I'm going to start in with my number two pencil or my HB. You just move right on to your next Dark is pencil and you'll note, you should notice if you're on an HB or be that this is much darker than HE really, even just the slightest pressure will give you quite a result. We're still not going to just dive into the darkest spots. We're still going to be layering kind of larger patches than you think you need to be doing. The really, the more you do this, the more varied and interesting your final result will be. So try to resist the urge to just put in the details with only your second or third pass. But we're essentially doing the same thing again, but with even less area. So now I just did that you're really quickly because I didn't I needed to do even less area than I did before. I'm gonna go in with medium pressure pressing kinda hard but not super arcs. I'm gonna go in with darker pencils after this and just darkening all of the areas that appear to need it. Here I'm going to do more of my scribbles, Scrabble. Not being terribly sorrow though because I'm gonna go over it again with B pencils and making some lines, coming and planting my pencil in the dark and kind of flipping out. And that creates a sin tapered end, which will make the fur look much more realistic than if I were to start here and go up, then I have my blunt and down here. So you just do that 8 million times. It'll really create a nice soft fairy look. 8 million, we expect you to count two. You'll be quizzed on it. Getting. So here I'm going to just put it in this soft little edge. And this is starting to go over kind of the direction, going over to the left, darkening the edge along the bottom of the ear again. And here's a great example of, oh, I should leave that light, but look at how dark that light is. Let's use our value thing again, look at how dark that light is. And then if I compare it here, wow, yeah, I need to go really kind of all over with this pencil in that area. Even on the lighter part. I'm not pressing as hard on the lighter part, but I do want to cover it yet. Oh, animals covered up my little triangle there. So by now, you might be starting to feel less timid about layering. You might be feeling a little crazier about it, which is, I think, a lovely side-effect of practice and repetition. You just sort of gained confidence and want to plow for us. And it's just can be so much fun from here in order to kinda get this effect or the ear blends into the head. Whereas here it's very different. It's black and white, but here it is a grays are very subtle. I'm going to plant the pencil and that edge of the ear and do that flicking thing again to kinda get the fur to go more gradually, transition more gradually from the ear to the head. 28. #2 (HB) Pencil - Side of the Face: This time I think I will start next to the eye and do that big stripe once again and making it much bigger, much thicker than the picture needs it to be. And you can see how now that I've got these dark soon, it totally dwarfs the texture I just put in a minute ago, which at the time seemed pretty distinct. But now with these darker values in there, it is not nearly as noticeable. So now I'm starting to go center with the black stripy parts, but not not as thin as I think they need to be. Until you get to your very dark is pencil, you're really never going is as small as you think you need them to be. Based on the photograph you're looking at, you're always going a little bit larger. Or in the case of the light pencils, you're going a lot larger. Now I can really get up next to my initial line, my drawing line color a little bit. So I have kind of a thicker line and then color out from it. Now I'm coloring very softly and in little circles. And that'll create a gradation or shade from dark to light along that edge, which when it blends into the fiber, will start to really look three-dimensional. It'll look like the curve of the dogs cheek. And I'm gonna go in and dark in these stripes kinda going slightly all over but mostly following this kind of upward curve. And then as I come down more of a downward and then down here it gets really dark. And I'm not going to leave that stripe just white. Look at how white that stripe looks. So remember, wow, you were saying when you put the lightest pencil in, it almost will appear white. This is exactly the effect that I was talking about. So we're still going to go in there, just not very much, but we're gonna put a few little lines because we don't want these hard edges between the dark and the light. So if you just put a few little lines, look what happens. It kinda creates an illusion that it's blending a little bit 11 value into the other. But it's not hard to do. You don't need a whole lot. And it's a really lovely effect and it's a lot of fun. So then I'm gonna move down and just do lots of coloring in this area with tiny short little strokes going along the edge again. But that out a little bit into the PEI, Excuse me, into the background, just so that the edges and super straight. There's also a little bit of a divot right there, which I honestly hadn't noticed till now. So I'm gonna kinda go out a little bit more to create that. And I'm just gonna go in just still really paying close attention to the direction of the firm is going and the length of the firm. Quite dark right next to the edit is white stripe and I'm really starting to lose my array, my initial line drawing there, which is really nice. So I'm starting to replace it with the firm. And keep going down here. And move this up a little so you can see that. And get lots of salt-and-pepper going down here. In the muzzle. Of the muzzle. Spark is my neighbor's dog and they were kind enough to allow me to use this beautiful photo of him for my class. He has a sweet dog. 29. #2 (HB) Pencil - Muzzle and Chest: So here I'm going to start going into that area that stops or to becoming for and starts sort of becoming skin more. So then I can start doing my big loops. So look at this. I've got like these big loops and I've got the little for the way to get those to kind of go together is just put more firm right between them. And it creates the illusion that they blend, which they really aren't. But that's what you're, I says. So here. Well, let me finish my scribble. Scribble First. You go right up to the bottom of the news. Scribble a bunch, covered up pretty well. When I get down to the bottom of the list, I'm going to start going up and down a little bit because it does appear that there is bit of a vertical next to that particular area. And then for the lip. Now I'm going to start. Since we're starting to get into the darker pencils, I'm going to start layering a little more instead of just coloring it all one color. So I put the dark infer the lip and then I'm going to start going kind of doing these little vertical strokes again that I didn't appear. And on the body will get back into these. I'm not going to put to much more color on the light parts. I'm going to pay more attention to the darker parts. But with each pencil, I get more and more excited. Especially starting out when I start out with a new pencil. It's just kind of a little leap in my heart because I can see the difference. It makes him immediately a little bit more here. Kind of a triangle shape, right? They're going off the bottom of the page. And then more of getting me longer strokes. Joining with the longer strokes on the left. 30. #2 (HB) Pencil - Nose and Snout: I'm gonna go back up to here where I ended pretty abruptly and put in some more dabs and dots into this white stripe part. And then get the shading out around the nose into the nostril. May as well do the other nostril. Just dark. Nothing fancy there. And then here I'm going to start getting a little bit more of the actual shape of that. Australia is a bit of a point right here. There we go. And then they kind of lost my ad you my nose. I'm going to recreate it by putting the shadow on the left thumb over the top. And then up here I'm just gonna color because it's sort of, that shadow is just sort of fades into the again, I'm making it bigger than I think I need to. To allow room for layering with the B pencils later. There's a bit of a bump here, a dip and then another bump. And this kinda goes up into that black working. They both sorta do these, these two peaks I guess. And then the nose itself. Actually, I need to really cut off in the corner of the nose here it got a little bit big. In my loss line. There we go. Now for the news itself, do another layer of Scribble scramble over the whole scene. Later on, that highlighted area, mostly just in the nose itself. I don't want to lose that line, so I'm going to dark in that a little bit. Dark and the shadow beneath. And then let's go up into these black markings. That's going to start getting a little more definite right there. Definite edge. Can go out into the white a little bit with these fine little lines. Lots, a little dabs in dots. Even in the white part, there's lots of little black marks in there. So I'm going to continue that dark right there. And then the blackness kinda going of the edge here. Lot of coloring, going out to the side and up into this little teardrop. And then you use that teardrop place holders. I can see where these other markings are. 31. #2 (HB) Pencil - Finishing the Face: So I'm just going to continue up into these areas of salt and pepper for still paying very close attention to the direction the firs going and still making my patches of darker color bigger than what I feel they are in the reference. Kinda going out to the side. Following the roadmap I laid down earlier. Get in here around the eye. Lots of dark around here. You may notice in the areas that you've colored pretty densely with the lighter pencils that you are. Darker pencil doesn't adhere as well or doesn't go on as intensely. If that's the case, you just press a little bit harder on the lead and it will, it will go on darker. It's just because the kind of glossiness of the graphite has created a little bit of a barrier. But nothing we can't handle this. Just a little more elbow grease. Here, it's getting really spotty. C is go back up to here. I got sidetracked and lost my place a little bit. Let's just get darker here, a little lighter. They're darker. Different direction. I'm gonna go over this part again because it's pretty intense, intensely darker. That is, this little black stripy area out here kind of curving over the top of the head. Next to the bony part around the eye. So much patterning in this beautiful sparky dog. And you really, I wanna go back into here and give this a little more sizable darker area. So a trick that you can use, which I'm using right now is squinting my eyes so I can kind of evaluate is there any area that's really standing out that I completely neglected or that I just want to add a little bit more to feel like right in the middle here, I should go a little bit darker with just some random vertical patches. If you squint your eyes, it's easier to decipher the areas of light and dark. And if you move back and forth, Lee was your eyes, your gaze between the two images, you'll more easily see parts that stand out as needing to be more dark. Given a little bit more attention. 32. #2 (HB) Pencil - The Eye: I don't see anything except the i. So I'm going to go into the eye and darken that again, put another layer of dark over the pupil. And I'm gonna get a little bit more dark. I'm kinda changing the shape of this reflection now because that lid shadow is quite dark, it's really very black. So I want to emphasize that and then I'll give sparky has very sweet sort of excited look in his eye. It changes very quickly when you adjust any little thing in an eye, the mood of the animal or the person changes very quickly. So I hadn't pressed pretty hard with my well, I hadn't pressed hard but I had covered very thoroughly with my lighter pencils. So I'm pressing hard with my number two pencil now so that it can really cover that part because that that being one of the darkest areas in the whole picture is the hardest occur. And that's fine. That's just how you do it. You can get pretty sick around this edge. And then reestablish kind of lower eyelid there. And one more quick glance around and that's pretty good for number two are HB pencil, the middle pencil you have. It looks like we're ready to move on to darks. 33. Lightest "B" Pencil - The Ear: So now I'm going to move on to my first be pencil, which mine is a to b. You can move on to whichever be pencil you have. And now I'm going to start paying really good attention to the actual dark parts and be led, as we talked about before, is so dark, you don't really have to try very hard to get it to show up very, very well. So I'm really going to just kind of start putting in these darker spots and I'm going to adjust my pressure a little bit. Like this spot isn't as dark as that one, so I'm not going to press his hard even though here I wasn't pressing harder at all either. But I'm pressing very, very lightly with the pencil here just to add a little bit of oats to this area, a little bit more contrast. And I'm just going to kind of go around and pay attention to the darkest areas on this yr I've been coloring a lot. I'm going to now just transition to planting the pencil mostly and making these little flicking stroke. So it starts to really look for a color a little bit where I see some dark spots or dark spots to be. But other than that, I'm going to stick to the flicking motion of the wrist so that it looks a lot like fur gets pretty dark on the bottom edge and that year here. And kind of all the way around to that beginning part. I'm also going to just go around the tip a little bit more carefully and even that out. And then It's put down some strokes going down towards the bottom to create that sort of fluffy, darker area. And then I'm gonna color really hard while not pressing that hard, but I am using a very dark pencil. So really thoroughly, I'm gonna cover up all this area and just do my scribble, Scrabble strokes again, but it's going to get really dark. Something you may start to notice. I don't know if it's that obvious, but you may start to notice a little bit of graphite building up on the side of your hand. If that doesn't bother you, just ignore it. It, it can also add a little bit of smudging into your drawing. So if that is concerning to you, you can take a piece of scratch paper and put it underneath your fist as you're going. So you can do this late, your fist on the scratch paper and it's sort of move it around so that you're not getting the oils, your hands aren't smudging into your graphite. I'm not gonna do that because I want you to be able to see the entirety of my drawing, but you can go ahead if you prefer. And that's really starts to only be an issue when you get into the really dark pencils. Not that you can't do it the entire time. Of course, you can use the piece of scratch paper the for the whole drawing, but at this point, it's not going to be noticeable any smudging. That's why mention it now because we're getting into the dark pencil. So if you want to protect you as you're drawing against smudging now would be the good time to do it. And you get down here into that little triangle, a light color, pretty dark around it. 34. Lightest "B" Pencil - Top of the Face: So it's just adding to the dark around that little triangle that I'm gonna darken the triangle itself, just pressing very lightly because they don't want to get it too dark. I just want it suddenly darker than it was before. And then I'm gonna continue over, looks like the for kind of starts go in different directions right about here. Dark in the bottom edge of the ear just a bit. And then get into these little wrinkles which are really dark. Lightening my pressure as I move to the left to create a softness there. Same thing on this one. And I mean, I could go into that other wrinkle with my value there and then go up into the dark. Is layering, pressing a little harder where I see it looks darker. Pressing on the Lego where I see it looks lighter. And then I'm going to plant my pencil in the dark. Click out to the right to create this little edge of light for going into the dark room, kinda going backwards. And I'm going from dark to light to create that illusion. So that I get the wispy ends on the right and the dark part on the left. And then I'm going to go into the face. So I'm going to really go into these really just darker areas now that I've gotten all this layering done with my light pencil, pencils in my medium pencil. But I'm still gonna go a little wider in terms of covering the areas that seem to be darker. Because I'm still not in my darkest pencil. I know I keep saying that, but it's, it's important. So that's why I keep emphasizing it. So it then you'll also notice the darker the pencil you're working with, the less time you're spending layering because the less you need to cover. Since you've already done all this coverage with the letter pencils, you're really just emphasizing the details at this point. I'm not even going into all the stripes and just kinda going into the darkest areas of stripes that I already have. And it looks like a totally neglected a piece right here. So I'm going to add that setting very little really into these very salt and pepper areas. Just enough to get a presence of the darker pencil in there. And then focusing most of my attention is areas that are sort of starkly standing out as dark. Something you can also do. Now that you're really getting into the darker areas is squint your eyes when you're looking back and forth between your drawing and your photo reference. Because squinting your eyes helps you to decipher and where the darks and lights are, the true contrasts, the most obvious ones anyway. So if you're really missing something that'll help you to see where it is. And the quicker you look back and forth between the two references, the more obvious those differences will become. You can do that at any point during the drawing, but it's really most helpful towards the end when you're trying to kind of work out finishing values and details. 35. Lightest "B" Pencil - Finishing Muzzle & The Eye: As I'm going up the nose and making a variety of strokes, kinda little dabs and dots and going in both directions. Some darker stuff over and return back down to the bottom. And hopefully you can start to really see and understand now what I've been talking about a lot, which is the layering and how all that light layer and you did in the beginning, you can barely even see your initial strokes with that really light HB pencil that they are there and it does make a difference. It, it creates sort of textural interests rather than just having one value of dark covering the entire DOD. Let's see. From here isn't gonna lower to the, I mean killer fairly area coming down towards the Muslim and then lots a little dabs and dots it again. Starting to pull out little here is eyelashes. And for planting it in the eyelid and pushing out towards the left. And now that I'm here, I'm seeing I need a little more softening at the top of that stripe around the outside of the eye. And you can sharpen upset flack edge, dark enough net corner. Kind of color that outside edge into the lid and darken up the pupil. And refine the shape of this highlight and around it out a little bit. It's like there's this little dot in the middle and then a line going off to the side, which I'm gonna do it this pencil. Put just a hint. I'm pressing very lightly of shadow kind of at the base of that highlight. And then here I'm going to color the same direction as I did my wagon wheels folk sort of put four with the lighter pencils in the iris. And my highlight or not highlight my, the white part of the eye is now looking too bright, so very lightly color over it, just to darken it a bit. And I'm pretty happy with that. So now I'm going to go below the eye. Color a little bit darker, get that shading on the skin below the eye. And that kind of curves down to the left. 36. Lightest "B" Pencil - Side of the Face: So now that I've finished coming in towards the edges and knows, I'm just gonna go back over here and do some of these stripes. So I'm just adding a little bit of darkness into the darkest areas of the stripes and I'm not being completely accurate really. I'm just I'm kind of getting looser as I go into the darker and darker pencils because I have my roadmap so well established now that I can just sort of add darks in the approximate areas I see them, but I don't need to concern myself too much any longer with placement because I've already got these mediums and lights establishing that for me. So I'm just kind of following the grain of the hair, the direction teeny little strokes here, putting in these little patches of dark along the side of the face. Some up here near the edge. And go, put a little bit more, some dots into this area. And actually I wanna go into the eye a little bit more just on the bottom edge, I'm noticing it in quite go dark enough there. Even though I am going to go back with an even darker pencil, I want to get another layer on here because that's one of the darkest areas of the fur. And those concentrated areas of dark. And then I'll come back down here so you can see I'm kind of skipping around. The more I get into the drawing, the more confident I feel because I have this roadmap. So I'm I'm bouncing here and they're letting the wind blow me where it will. But I'm also staying in the same general area of the face so that I can kind of build up one area at a time. Down here. It gets to be very modeled. So there's a lot of salt and pepper going on on the side of the muzzle here. So I'm just gonna kinda get early scribbly and sketch you with it. Think I just made that word up. Think there is such a word as scribbly. And just also noticing over here, I'm a little deficient in the medium values. I'm going to use my dark pencil that draw lightly with it, lighter with it. Just to get that area a little bit darker, kind of along the whole edges of Phase. I could also just grab my medium pencil and go back and do that. Either way is fine. And I'll continue down into the muzzle. Kind of making these sort of striped like shapes. And then I'm gonna go under the nose and do my big circles again. Kind of still preserving that line right underneath the nose right here. Not going all the way down to the lip because there's that little bit of highlight, little more salt and pepper over here. And I'm going to press a little bit harder right next to that line on the left side of it because that's where the darkest part is, right underneath the nose. And then in a second, I'll move over to the right side here. 37. Lightest "B" Pencil - Mouth & Chest: So I'm going to just do the same thing on the right side that I did on the left. Can it coming in towards that center line but a little softer, so I'm not pressing as hard as I did over here. And then this needs to be much darker. So I just left a really light so I could see it for a minute. But now I'm going to just very lightly go into with my dark pencil so that it gets darker but not as dark as that edge. And that tells me you need to make this a little darker. So I'm going to press a little bit harder right here. And just kinda keep coloring in my circles. And then I'm going to go down to the lower lip where it's very dark, where it meets the mouth. I'm gonna be careful not to just draw a rainbow shape here because Spark, he's lip has a few little natural bumps in it. So I'm going to add those. They can be pretty random. You definitely using that as a reference, but not being too particular about it. And then right up next to that line, I'm going to color pretty hard. And it gets thinner as it goes out to the left. Thicker as it comes in towards the right, it's just the shadow from his upper lip cast on the his lower lip. And it looks like the right side is as big kind of dark area right there. And I'm just gonna keep going back and forth over it. And then from there I'm going to start putting in more little hairs from the bottom edge of that shadow. Kinda want to camouflage that edge so that it just kind of turned into hairiness. And then on the very bottom edge, not including this little bit of light on the very bottom. On the very bottom edge. It's a little strip of sort of darker hair, so I'm just going to color that. And then I don't want that edge right there. So I'm going to plant my pencil in it and pull up some little hairs. Just a camouflage that edge and make it sort of blend into the area about it. Same thing, sort of the same thing over here on the left. It seems to disappear a little bit, like it starts thicker here and then it disappears as it trails off. And then this part just gets a little darker as it kinda blends into that dark strip on the bottom. So now I'm coloring in light, light circles just to get it a little fuzzy. Not quite so sharp with the hairs. And then I'm gonna color in light circles over here for the same reason. This now appears to light. So I'm going to just go and shade it a little bit, just pressing very lightly with my pencil. Kind of just adjusting minor things as I go. And at the end we'll go back and take a look at the whole thing of course, and just add any last minute adjustments. And then I'm gonna move on to the chest. And I'm not going all the way up to the lip because there is that little halo of light right on his chin. So I'm gonna just go almost up to the light or excuse me, almost up to his left is lower left. And a little bit and to our great there, P little withs coming in from the bottom. So I'm planting my pencil and flicking up. So I get that wispy look right here. And here you'll notice the light disappears into the light on the chest, but your eye will naturally just kinda put that together so you don't have to make it an outlined effect. In fact, don't make it an outline effect because that's not what's happening over here and we're trying to copy the photograph on the bottom edge here. It's pretty dark. And I'm just going to plant my penicillin flip to the right and then get some more little crevices in arose going on the left side of his body here. All right. Now we'll move on to the nose. 38. Lightest "B" Pencil - The Nose: So for the nose, and I'm just going to start on the left, you can really start anywhere you want. But now we're really going to get serious about these little circles because that is what is going to make that nicer rubbery knows texture. So all these little overlapping circles is going to make it look sort of pebbles UI, like a dog's nose does. And I'm going around the nostril leaving a little halo of light like I see in the photograph. Lightening up on the pressure in the slightly lighter areas like right next to the nostril and then right underneath it getting a little bit darker. So pressing a little bit harder. A little triangle of dark right there, and then a little bit of light around it, but not this light, not as light as a medium pencil. So I'm gonna color over it with a dark. I'm just not pressing very hard. And I put the line in the middle of his nose too, so I don't lose it, but I'm not going to try to draw a straight line and don't want it to be that perfect because it is a fleshy surface, so I'm gonna make it a little bit crooked and wobbly like it is there and barely sort of connect to the line at the base there. And then just color a little bit right on the bottom of the nose that there isn't a white or a bright highlight there. We're gonna keep going a little bit. Over to the left, darkening on the bottom edge here. And this particularly light part, I'm just going to very carefully go in with the very tip of my pencil and draw some circles just to give it the texture. But I'm not actually trying to darken at this point, my nostrils actually lighter than the area around it. So I'm gonna go in and darken the nostril so that I can preserve that shape. And now I'm just coloring pretty hard in whatever direction. Circles are usually easiest in a round shape, but you can really do whatever you want here. And then now that I've gotten that dark and I'm going to just look at the shade and see, that's pretty good. I think that's OK. So I'm going to add a little bit of a point of dark right here. And then I'm gonna come in and with those tiny little circles that I did over here, kinda go around the perimeter of the nose so that it's not all that bright. This is the brightest part of the highlight because that's where the light is actually hitting it. So that's where we want it to stay bright and the rest of it we're going to drill down a little bit so that by comparison this looks lighter in a dark and over here a little bit more. And I, for some reason never went down this way. So I'm going to finish this part, leaving a pretty bright highlight on the left there. So I'm pressing very lightly with the pencil. And I'm gonna continue over all the way to the edge of this line. This nostril is much more in shadow. So actually I'm going to darken that now so I don't lose it as I'm darkening the skin around it. And just pay attention to your shape if you happen to have lost your shape a little bit from your original drawing, just look at what what the nostril appears to the form that it appears in the photograph. And copy that. And you can kinda reform it with here, darker tensile. Oh no, I'm gonna continue with little circles. Pressing harder where I see it darker, pressing litre or it seemed a little lighter. But this whole side should really be darker than this highlight around the edge of the nostril on the left or Spark keys, right nostril, leaving a little bit of light showing on the bottom edge there. And now I'm noticing that this part should be a little bit darker. So I'm gonna darken that. And I'm gonna go up here next to the top of the news. 39. Lightest "B" Pencil - Finishing Nose & Center of the Face: And I'm just going to pick right up from here, kinda darkening the top edge. There's a bit of a kind of a dip right here that I'm going to put in now because I have an appropriate value. It's very dark. And then I'm going to continue with the circles. It's a little bit darker in the center, dips down a little bit right there. Keep going over to the right with the circles. Kind of the darker the area you're working in, the more careless you can be with the circles because it's not going to show. So the more I kind of get closer to the highlight, the more I'm going to make sure I'm using the really the tip of my pencil so that this circles ended up appearing to be that pebble the pattern. And anywhere I have an edge between two values between a dark and a medium that I don't want an edge. I can just go back and put some more circles and it will blend. And as I get to the center of the highlight, I'm drawing very, very lightly. And paying more attention to getting CRISPR edges on my circles so that they translate into that rubbery pattern, rubbery texture. And on the left side where I had that dip before, I'm going to keep going kinda out into the for. And this is where it's difficult to tell if that's part of the nose are part of the Forbid, it really doesn't matter. You're just copying what you see. So here it kind of is the same darkness in the firm and it's definitely fury on the outer edge. So I'm going to plant my pencil and put a whole bunch, a little lines right there. And then just kinda coming up into the muzzle area and the base of the muzzle. And then I'm going to do this fun little part where you plant the pencil and just flick a whole bunch out to the right on the right, out to the left on the left, and add some new markings and I hadn't put in before. And just kinda have fun with it. Just sprinkle a little dark dabs and dots wherever you see fit. Using your mediums and lights as the roadmap. In areas where it's truly, really dark, I can color a little bit and then resume flicking. Kinda start going up. And a little bit more over. The mediums. Switch over to the left and add a little bit more over here. And then this is a bit of a sharper edge right along the side of that marking. So I don't have to be or it can't be quite as casual with my strokes, but that's fine. Or if you want on your sparky dog for there not to be a sharp edge there. You can do that because that's your artistic license. You can do whatever you want. And that lovely. Going up this center here and into the teardrop. Not a whole lot of dark on the head. Being very bold with my stroke's up here because I personally like that effect. I like that it kind of adds a little personality and sort of lends itself to feeling pretty confident about my work, which I enjoy. Even if I don't always feel a 100% confident. 40. Lightest "B" Pencil - Finishing Touches: I am happy with that. So I'm just gonna go back into the top edge of the eye and darken up here a little bit. Or actually kind of a lot, pressing pretty hard. And then once I've got that line kinda dark and I'm gonna plant my pencil in it. Flick out to the left pretty carefully. So you just want to imply eyelashes? Or I don't know for I don't know if dogs really have true eyelashes, do they? Yes, I think they do. And actually, alright, and we are done with our first dark pencil. 41. Darkest "B" Pencil: So now that we're done with our 2B pencil or whichever was your lightest B Pencil. Now we're gonna go to your darkness feed pencil. And with this one we're only going to darken the truly blackest areas. So we're going to actually start in the blackest area of the ear and just do our scribble, scribble throughout that part. And it's not even getting that much darker, but it is adding a layer of intensity. Getting up next to the part of the ear. So I'm planting and flicking. Same thing with the head so that we don't end up with any blunt strokes. I'm gonna get some more dark, intense dark down here where that dark, dark, dark shadow is right next to that little light V-shape. And I'm being careful not to move my arrest around and planting my hand and working from that one spot so I don't smudge the pencil too much. But you can use the piece of paper, as I mentioned earlier, to prevent that from happening if you want, I'm just not doing it so that you can see my journaling. So that's pretty much it. Yeah, that's all I'm gonna do for the ear and then for the, I move over here dark enough that lid. And I'm gonna make it arch up just a little more in the middle. That's going to change the emotion in his eye just a little bit so he looks a little sweeter. It's amazing what just a hair, pardon the pun of a change around. And I can do for any animal or any human being when you're drawing them, really has a huge effect. Willing to dark in the lid. Skinny little edge of the lid, the corner, the outside edge of the iris. And then with soft little circles, just color right next to that dark edge I just colored says, oh, you can kinda get rid of that hard edge. And obviously the pupil gets to be darker as well. I'm starting next to that bright highlight and working my way out, pressing pretty hard. And as I get closer to the very edge of the people, I'm going to lighten up the pressure so that it doesn't end up being a very hard, hard edge. I'm also gonna color very lightly with this pencil at the top of the iras, on the left and on the right, that'll create a gentle shadow that the eyelid is casting onto the iris. And that'll help create kind of a glow in the base of the iris, which is lovely. Other darks nostrils are most obvious next place to go. And if you have any hard edges, you can just do those little circles. I'm gonna do a little bit more darkening of the texture of the nose, but I'm not pressing very hard. I just want don't want the nostrils to stick out quite as much as they are right now. So I'm darkening the area around them to lessen the amount of contrast. Kind of the base to, I'm going to add a little more dark here. And then the very top edge of the lip. I mean, just look around and see if there's anywhere else. The firm No, I think we're good. 42. Adding Final Darks: So now that we have mostly finished sparky or just gonna kinda go through and add anything or take anything away that we are inspired to do. So over here I see kind of a sharp edge. I don't like so much. I'm going to add a few little hairs on the top. And that stripe is a little sicker than it is on the dog. That's kind of all over the place. You're gonna see thinner and thicker and misplaced and whatnot with the stripes and that's fine. But if you want to change it, you certainly can. That's why we have erasers. I'm going to add a little more dark on the outside edge of the eye here. I'm using my 90 right now by the way, because I am interested in adding some more dark. You can certainly use your light pencil first or whatever you'd like to do. A little more dark up here above the eye and a little bit more than that stripe there. And then I feel like these areas need a little bit more of kind of a medium tone. There's just too much kind of white blank space going on over the eyes. So I'm going to use my 2h pencil and go back and put in a few more little lines just to give it some more texture. Over here too. And there's 22 abrupt transition right there. So I'm going to add some more lines. This pencil going up into the light area and kinda unifying the dark stripes here and here. And I'm just going to add a lot more for salt and pepper E stuff with the medium pencil in this part. And then looking around, do feel like this is a little bit sharp. So I'm gonna add some more for going into that muscle part, the white part. Same thing down here, even though it is quite a hard edge in the photograph, I just want it to be a little bit softer there. And I'm gonna do some of that in here too. So you can kinda look at it piece by piece and look at it as a whole. Several times. Even it's best to leave it for a few minutes, come back in a while, look at it with fresh eyes. Another trick is looking at it in a mirror with the photo and a mirror. So you're seeing it backwards because your brain is become so accustomed to looking at this drawing and this photo this way that it doesn't see everything. So if you flip it, if you invert it, or another thing you can do is flip it upside down like this and look at it that way and you'll automatically start to see areas you can change and add to some little trick kinda of a Leonardo Da Vinci thing. I think he might have been the one who started that out. I can see part of my original drawing line here. So I'm going to actually just kind of dab it. That was my eraser because I don't want to have any sense of an outline anywhere. And then I'm gonna go over there and just add a few little hairs to camouflage it. Same thing here. I can still see my drawing lines, so I'm going to erase that and put in a few more little hairs. Let's see where else. Loops. One is my dark pencil, a little bit darker on the side of the rostrum. And I'm feeling pretty happy with this. 43. Adding Final Lights: So I'm gonna go with my eraser pencil now, this is the tool I'd mentioned. You can have. It's a great tool to have. You don't have to. If you don't have an eraser pencil, you can use your just regular eraser. I'll show you that in a minute. But if you do have an eraser pencil, you can go into the brightest highlight on the nose and do little circles. And just give that a little bit more in brightness if you want to, and if you feel it's even necessary. And now I have a big white spot so I can do kinda dabs at the edge of it to soften it into the surrounding area. And then after a little bit too bright, so I'm gonna take one of my H pencils, my 2h, and go back in. Just put some circles in. To reclaim that texture. I mentioned you could use your regular eraser to. So if I didn't have the pencil eraser, I'm just gonna do this again to show you you can just erase or you can sorta dab. And it'll create pretty much the same thing. It's just larger chunks. It's not even really that noticeable. 44. Adding Whiskers: So now we're gonna do the whiskers. Start with your one of your age pencils. And just notice where the whiskers are, the direction they're going, how some of them cross a little bit, but they're just very gentle, generally going out in the same direction. And what you're gonna do is just play it your pencil and draw out and kind of really lightly pull off. Do that a few times with the H pencil approximately in the direction that you see the whiskers going. There's some of them that are distorted, curving down. Try to do it in smooth motion. As you can see, you don't end up with wobbly whiskers. Just the quicker you can do it, the more natural it will seem, even though it's a little bit scary to do it quickly. Something like that with your light pencil. And then when you feel happy with the light pencils, switch to one of your dark pencils. Actually, I don't want to sharpen it. Make sure it's very sharp and a nice fine point. So for this, don't use something like a nine B because those are hard to get a fine point on the softer the lead, the harder it is to get a fine point. So use your lightest dark pencil or your number two, your HB and just do kinda the same thing planted, flick out, plants, flick outs. You're, you're lifting your pencil off to create these lovely little tapered ands. And although you're going kind or randomly, or also going mainly in the direction that Sparty's whiskers are going. You can also put a few on the chin here. A few of these longer guys. Try to make them not evenly spaced. And if I see kind of a pattern here where I have these two really evenly space, I'm going to just add a little bit of diversity. Get him to look more organic. And I'm pretty happy with that. There's one up here, which I'm going to skip because I feel like it would draw too much attention to that part. And then I'm going to put some over his eyebrows. You can just barely see them, but he's got these little Fujis, longer whiskers sticking up from over his eyebrows, something like that. And you're not. 45. Signature (optional): So you can leave your beautiful drawing just as it is. But if you would like to sign it, you can sign in a few different ways. You can sign pretty dark over this part so that your signature is kinda camouflaged by Sparty's for if you want it to be more obvious, you can sign in the bottom corner here, although that is a really vacant area. So your signatures are really gonna pop there. You can also be creative with it and sign kind of off the side of sparky or just in the lighter area of the firm. So I'm going to use a dark pencil and just sign kind of in the lighter area of the fur because I wanted to show a little bit not I think it would be to hidden over here. And you want it to be a little ways above the edge of the frame. Because if you frame it, your frame will naturally overlap the edge of your page a little bit so you don't want your signature touching the bottom. And then you just want to assign very small and you can sign your full name. I'm going to make the K. My last name is flip. I'm going to make the c and the k a little darker because I'm signing over dark part there. And then I'm going to put the year out here inside the wider area, so it shows up a little bit. And that way it's just sort of not popping out. Camouflage with the dog. 46. Spray Fixatif (optional): So now that you've finished your beautiful dog drawing, I recommend using a spray fixative. This is one I often used called workable fixative. And you can use it mid drawing even if you feel like your pencils building up a lot and it's starting to smudge too much because you can still work into it. You can build up more pencil on top of it, or you can use something like a matte finish fixative, which is pretty permanent, so you wouldn't want to use it until the very end of the drawing. But I like this one because you can use it in any stage of the drawing, including the end. So here's our beautiful dog drawing. What you wanna do is just do a little test spritz first. Just make sure it's not clogged or spraying any any big droplets and then hold it about a foot away, at least a foot away, I'd say foot and a half to two feet is even better. And just sort of spray into the air above the drawing and allow the spread of fall onto the drawing of the best way to ensure a really light mist and even coverage. And then wave it around a little bit. Definitely do this outside. It stinks, it's terrible for you to breathe. So do not do this in, inside at all, have plenty of ventilation. And then you can do it again. And you can really do it several times if you want. The more you do it, the more secure it will be, the less it will be able to smudge. And then you can frame your beautiful picture under glass. I hope you choose to do that, give it away as a gift and enjoy. 47. Congratulations!: Congratulations you did it. I hope you're really happy with the drawing you're coming away with today. I'm so happy you joined me on this journey. Thank you so much for taking the time and putting the effort in. New skills you gain today are creating a sense of volume and texture using graphite pencils specifically for animal textures, you learned how to do for layering that short dense for of this particular dog and all the various values in that dogs fors. You also learned how to do the nose and the rubber band is of that knows and the, the shiny spirit in the eye and make those fine little whiskers as well. You learned how to scale, starting with a smaller photograph and sizing up to a larger drawing. Hope you had a great time. If he did, I have other classes. I have more graphite, charcoal, chalk, pastel, watercolor, just a variety of other media. Or maybe you've taken some of my classes before. I encourage you to explore other teachers, I feel like the more people you get to learn from, the more well-rounded your education will be. Because everybody has something different to contribute and it's a beautiful world full of knowledge out there. So get out there and I hope you're inspired and thank you so much for joining me today.